It has been awhile since I found myself as excited for a film, especially a horror film, as I have for director Oz Perkins’ latest and greatest feature, “Longlegs”. The film, set in the 1990s, follows Lee Harker, an FBI agent struggling with supernatural premonitions as she is put in charge of tracking down an elusive serial killer only known as “Longlegs”. A killer whose past may harbor dark revelations that threaten not only Harker’s life but the lives of many as his killing spree continues to grow. The film is a deeply unsettling experience that still finds ways to generate thrills, entertainment, and contemplation thanks to the stellar directorial choices of Oz Perkins, and both the subtle and unsubtle performances of Maika Monroe (as Lee Harker) and Nicolas Cage (as the titular serial killer). That being said, for as much good as there is to find in this film there is also plenty to be underwhelmed and put off by. This is n part due to the marketing campaign the film employed leading up to release as well as social media hype. 

Before addressing the film’s shortcomings, I’ll address the aforementioned positives about the film. Director Oz Perkins has found his footing as of late in producing slow burn horror cinema and this is put on full display in Longlegs. Perkins’ decision to opt for prolonged takes and narrative ambiguity allows for a much more unsettling experience than if it was just a typical cut and dry true crime evocation. Perkins has created a film that walks a fine line between the dimensions of discomfort and bizarre, an unholy amalgamation of 70s glam rock, Satanic Panic fears, Silence of the Lambs, and The Exorcist. An amalgamation that creates  a truly unique viewing experience that still feels fresh while also clearly carrying homage to previously established films and cultural iconography.

Two of the most notable ways in which Perkins puts a fresh spin on previously worn out cinematic stereotypes is through the effective performances he was able to garner out of the film’s biggest weapons: Maika Monroe and Nicolas Cage. Monroe, as Agent Lee Harker, feels like a combination of Jodie Foster’s performance as Clarice Starling from Silence of the Lambs and Jason Miller’s performance as Father Damien Karras in the Exorcist. Monroe is able to evoke the “crisis of faith”-riddledness of Karras while maintaining the headstrong, unorthodox, and vulnerable elements of Starling. Where Monroe really shines is in the quiet moments, when the film lets the atmosphere simmer and you can see the gears turning in Agent Harker’s head as she struggles to find a rational explanation to cruel and unrelenting violence that forces her to look towards the improbable and ultimately spiral into finding connections within the occult. Monroe carries herself as someone struggling with a crisis of identity. Someone who has been lugging around a great weight her entire life and is finally forced now to examine the truth of that weight in the face of incomparable violence and supernatural implications. The real scene stealer of this film, however, is Nicolas Cage. Everytime time Cage’s Longlegs is on screen, you cannot help but have your eyes glued to his performance. Cage somehow can chew the scenery in a way that is both deeply uncomfortable and darkly humorous, ranging from the distinct sense of potential violence between his every action to utterly bizarre moments such as grating, voice-cracking screaming sessions and an equally unnerving and hilarious  bout of singing. Longlegs is best compared to another Silence of the Lambs character Buffalo Bill (for both good and bad reasons), albeit I think Cage’s killer has significantly more character, gravitas, and entertainment value than Buffalo Bill. Every second that Cage is onscreen you’re immediately drawn to him while simultaneously feeling as if you want to be as far from him as humanly possible. It is a wonderfully bizarre and unique performance full of idiosyncrasies that make it both a deeply fascinating and disturbing portrayal of a depraved and devoted murderer. Definitely  the biggest reason that film stands apart from all other horror films. 

As mentioned before, there are also plenty of aspects of Longlegs that will not be satisfying to many audience goers. This can be chalked up due to hype surrounding the film and some of Perkins’ directorial choices. Prior to the film’s release, an extensive marketing campaign was conducted that utilized social media platforms, namely TikTok, to send out cryptic and disturbing adverts for the film that piqued a large interest amongst the horror film community. As the film made its way to early screenings, there were many reviews that called the film one of the scariest films ever which is eerily similar to the marketing of the 2018 horror film, Hereditary, which was notably called the scariest film since the Exorcist. Having this much hype and anticipation can do as much harm as it can do good for a film as is the case with Longlegs. Marketing seems to have given audiences the false impression that the film essentially re-invented the wheel for horror cinema and that is simply not the case. The film definitely feels formulaic, tired, and re-hashed in certain segments and it’s these moments that can be underwhelming given the amount of excitement that was generated prior to release. Similarly, Perkins’ decision to opt for both narrative ambiguity and closure create a sort of viewing contradiction that can easily make the film an unsatisfying watch especially as it relates to the main antagonistic force of the film. 

Longlegs is an impressive, fun, and unnerving feature from director Oz Perkins with two absolutely stellar performances from Maika Monroe and Nicolas Cage. The film, while fresh in some areas, is also absolutely tired in others and abound with thematic contradictions that cannot help but risk disappointing audience-goers, especially those with heightened expectations of the film as a whole. I fully recommend the film but I also acknowledge that going in expecting a revolutionary life-altering experience will only leave the audience-goers deeply disappointed. 

⅘